around here.

Thanks, Jen, for offering to check your photos to see if you saw blue “strawberry” flowers on coives at the MFA when you were here. I’d appreciate the info.

I think Lauren, mj, and others may well be right on with the thoughts about symbolism in the embroidery. It will be fun to look up those references, but I bet we’ll never really know.

I’m also glad to see embroiderers of all ages participating, and hopefully some not-yet-embroiderers will be moved to try it out – whether this style or another.

The exhibit that the jacket will be an honored part of is scheduled to open in May, 2009. When we began we were working with an opening date of summer, 2008 (gasp!) but other elements, like funding, didn’t move along on that schedule. Honestly, I’m just as glad; trying to build an ambitious clothing & accessories-heavy exhibit while making the jacket was not an appetizing prospect. That’s partly why we’ve maintained the original production schedule for the jacket despite the change in the exhibit opening – this way the jacket will be safely finished before we start work on the exhibit….

Meanwhile, back at the ranch, yesterday Wendy joined Kris, Heather, Shaina, and Emily (our winter intern) in the embroidery “studio.” Apparently they had a giggle-filled day, which makes me wonder just what they were up to!

They all joined Karin in the collections storage room to see the samplers. Joining the two 17th century samplers is an early 18th century one which was embroidered by a descendant of one of the Mayflower passengers.

Two of the photos (all courtesy of Wendy again today) show Karin opening the frame of the 18th century sampler (but those fingers look like Shaina’s).

Wendy writes:

This is becoming more interesting by the moment, the colors, the genealogy and the fact that she was stitched to very BAD cardboard ( fortunately not glued as Karin had feared)– she seemed to breathe a sigh of relief when she was opened. A very interesting tale indeed and one we will spin out for you over the course of the next few months! Stay tuned for our surprises!

The first picture shows Kris embroidering. Today, Kris and Heather were going to work until late afternoon, then find Heather some real New England seafood for supper. Instead, they packed up by 10 AM and headed out to beat the snow. The SNOW. This makes THREE sessions shortened by weather. Yes, I am taking it personally. Enough already. I have a deadline here!

Speaking of, I’m working on planning sessions in April, May and June. Stay tuned for exact dates. They’ll all be Friday to Monday weekends, as that has proved by far the most popular configuration. By then there’ll be no snow to deal with. I hope.

Kris and Heather are embroidering to close out the week. Those are Kris’ hands. Heather’s working on a thistle. Thank you, Wendy, for the photos and for the title for today’s post. Yesterday we walked to the 1627 Village in the freezing cold and gathering clouds (seems it only snows around here when we’ve got a session on) to look around a bit.

One of the week-old kids (goat baby) poked his nose out of the shelter to see us, but the newer babies were kept in by the careful mamas. Rose the heifer demanded to have her chin scratched. Tom took some time out of thatching the roof of the newest 1627 house to talk about whether old embroiderers wore eyeglasses (in the 17th century he meant, and no, we don’t know) and a little about how we decide where to put the houses in the Village. Then we stopped in at the wardrobe office to look at some of the mended clothes.

Tomorrow Karin will show Heather and Kris the three samplers in the Plimoth originals collection. Yes, I’ve only talked about two before. We have another, which in my 17th century near-sightednessI didn’t “count”. It’s dated 1808 or 1809 and apparently is a pretty nice early 19th century example. When I started here in 1988 it was hanging in one of the offices of the administration building. D’you believe that?

Samples received: from Deborah P and Angel A

and the first lace sample from Devon T! Wow – that was extremely fast!

AND yesterday I mailed out 21 more kits for stockings and gloves, thank you to all the knitters who have volunteered.

…opened with a flurry of getting settled, again. Thursday night we brought everything up to the Wardrobe Department work room, but didn’t set up. Friday morning everyone found a table, chair and frame stand to suit and we ran extension cords and power strips again. A few stitchers found the overhead daylight fluorescent lights so bright they didn’t need a task lamp.

We weren’t able to accommodate every stitcher in the department’s big workroom, so we spilled over into the adjacent large office. That was where we’d planned to set up the snacks and lunch, so the food had to be pushed back to a small alcove. We also set up the invisible barrier which prevents food & coffee-carrying people from crossing through the doorway into the work rooms.

Late morning, everyone walked over to the collections storage area, where Karin Goldstein graciously gave the group a show & tell talk about the sewing-related artifacts in Plimoth Plantation’s originals collection, and displayed the two 17^th-century samplers we have.

Another guest, Joanna, a textiles conservator, had brought a special treat for everyone to see: a 17^th-century stumpwork picture. Some pictures posted here (click on the image for more views).

So where to have lunch? It was a gorgeous clear sunny day, so Laura swept the courtyard and put tablecloths on two picnic tables. I was going to take a picture, but decided to eat first. Just as I sat down (one of the last), a dark cloud blew in. “Hey, it’s getting pretty dark” someone remarked. “Is that rain?” The words were hardly out when a clap of thunder opened the floodgates. We finished lunch standing around in the hallways, squished as far away from the frames as possible. By the time the stitchers were settling down to work again, the sun was breaking through. No picture of happy embroiderers lunching al fresco.

After lunch the stitchers began finishing their work for this session. Tricia’s organized mind has established an amazing record-keeping system. We’ll be able to track and analyze all sorts of data based on the notes the embroiderers are keeping as they work.

One element of the system makes it possible to record exactly which elements are worked by whom. For this, Laura photocopied the master embroidery pattern. Each embroiderer then signs the individual motifs she has worked. The first picture is Pat, carefully matching the worked motif to the pattern (it’s easy to get turned around, with all the swirls). The second picture is Ann (in the background) and Carol sorting out what they stitched on the sleeves. Another part of the plan has two embroiderers with similar hands working on the mirrored pieces, like sleeves and fronts, and switching frames partway through the session to further meld the styles. Ann and Carol were both working on sleeve pieces this week.

We had little thank-you gifts for the embroiderers who participated this time. Everyone received a copy of Plimoth Life, Plimoth Plantation’s magazine. This issue contains an article about the jacket, as well as others on the 50^th anniversary of Mayflower II’sarrival in the US, and Plimoth Plantation’s mission to become a bicultural institution. Thanks to the skilled Kristen, one of the Crafts Center’s potters, we also gave everyone a hand thrown cup. My daughter’s hand is in the picture for scale.

The hard part of this day was the farewells. In only a few days we’d formed a team, a community. Some renewed old friendships, others made new ones. We all enjoyed the company and conversation of others who are passionate about embroidery.

When considering this project and beginning the planning, I knew it would be a huge undertaking, that it would be at times exhausting, that there would be unforeseen difficulties and comparable triumphs. But I never imagined how personally rewarding it would be to meet so many talented people who are so generous with their time and skill. It was a pleasure getting to know the ladies who participated in session one. I’m looking forward to meeting many more of you in the coming months.

See you here tomorrow.

I vividly remember how I was first introduced to embroidery. I was seven, and my family was visiting an historic museum. In my memory it was Old Sturbridge Village, in Sturbridge, MA, but I grew up in Rhode Island and we frequently made day trips to many of the museums in southeastern New England, including Plimoth Plantation. We could have been in any number of places.

What I remember about that particular trip is the woman embroidering. I was fascinated and absolutely itched to try it. I come from a family in which the women all did handcrafts, mostly crocheting and plain sewing, but embroidery was new to me. I don’t know if she was demonstrating and inviting members of the public to try the stitching as an established program; perhaps I was just patiently persistent and she made an exception, giving me some supplies so my family could at last move on. However the reality, I came away with a small piece of perforated paper, a blunt needle, and a length of orange cotton floss. She showed me how to make single cross stitches, lower left to upper right; lower right to upper left; and how to make a row of them – lower left to upper right to the end of the line, lower right to upper left all the way back. I remember making stitches on the way home until I was so thoroughly carsick I had to stop. Still can’t stitch in the car.

It wasn’t a passing fancy, either. After I filled up my piece of paper and ran out of floss, my mother procured a simple kit with stamped crosses and probably acrylic yarn. This was the 1970s, after all. I think my mother still has the red and green ladybug I made; I saw it not that long ago. I kept going and within a few years my mother was having trouble keeping me in projects. I did crewel work with wools and counted thread pieces on linen. In my work for Plimoth Plantation I have (very occasionally) worked ‘slips’ on fine canvas with silk.

Do you remember how you found your love of embroidery? How did you get hooked?

Today’s picture is of Tricia Wilson Nguyen and Wendy White examining one of Plimoth Plantation’s two 17^th century samplers. This one is dated 1664 and has the initials “EC”. It is about half whitework and half colored silks, pretty thoroughly faded but in good condition overall. Participants in the June session (and now we have 11confirmed!) will be able to see both samplers during a Friday morning collections tour with Curator of Original Objects Karin Goldstein.

Kathy is quite rightly insisting that we firm up the schedule and get it posted here and mailed to the participants, so look for that early next week. I don’t know where we’d be without her